Welcome to Shadowvision, a regular column in which Fangoria.com revisits modern horror films in black-and-white. The purpose is to analyze these films through a new lens, seeing if the classically informed viewing experience will give a new angle to familiar images. If you’d like to watch along at home, it’s simple: go into your TV settings and desaturate the picture completely, then adjust the contrast and brightness to fit either standard or high definition.

Following years of distribution limbo, William Friedkin’s 1977 box-office misfire SORCERER finally sees the light of day again this spring, beginning with a special one-week engagement (in a DCP restoration overseen by the director) at New York City’s Film Forum (209 West Houston; [212] 727-8110) from May 30 to June 5. Of his celluloid catalogue, Friedkin considers SORCERER his most accomplished work (he says he wouldn’t change a frame), better than his THE FRENCH CONNECTION and THE EXORCIST! You can judge for yourself when the thriller, a remake of Henri-Georges’ Clouzot’s French classic THE WAGES OF FEAR, burns up repertory houses decades after its initial debut.

As many fright fans already know, FANGORIA offers a great selection of gruesome movies, old and new, for free at our Hulu channel. To give you a better idea of what’s available, FANGORIA is taking in-depth looks at some of the channel’s terrifying titles with Stream to Scream. Today: Óscar Rojo’s cannibal creepshow OMNIVORES.

A consumer advisory: The title of SX_TAPE amounts to a bait-and-switch, as the sexy stuff proves to only be a small element of the story. The bulk is yet another paranormal-asylum flick that’s not so hot.

The American reboot of Japan’s most famous monster is not so much a great Godzilla movie as a great movie about Godzilla—a subtle difference, but one that’s crucial to Gareth Edwards’ spectacular and powerful film.

In Showtime’s long-running efforts to bring horror to premium cable, they’ve often mistaken what works so well about horror: actually being scary. While DEXTER brought bountiful blood and MASTERS OF HORROR occasionally lived up to its title, Showtime traded suspense for presumed intensity while exploiting the freedoms outside of the limits of broadcast television restrictions. The atmospheric PENNY DREADFUL however, just may be the series to pull Showtime into more serious horror territory, as long as future episodes make good on the potential of the impressively creepy pilot.

SISTERS just might be the most important movie in Brian De Palma’scareer. Though his first feature MURDER A LA MOD laid down hints of what was to come, SISTERS was the first time De Palma ditched his satirical, political, Godard-influenced romps in favor of self-consciously accepting Hitchcock’s crown as a new master of suspense. That’s not to say that the movie is serious, of course. De Palma’s deep appreciation and understanding of Hitchcock extended to Hitch’s dark humor and refined sense of irony. So, what Pauline Kael’s once famously referred to as De Palma’s “alligator grin” is in full effect.

Even preceding release from distributor PDA, ESCAPE FROM TOMORROW was already cemented in pop culture as the first fictional feature shot in a Disney Amusement Park without permission. It seemed a testament to the extent of digital guerrilla filmmaking, but conversations about the film itself came second to those surrounding the legality of its production. Considering the trippy and off-putting territory the film dives into, it’s easy to see why.

You’d have to search far and wide for a genre filmmaker not influenced by John Carpenter, and more specifically THE THING. The legendary filmmaker’s arctic account of an assimilating, parasitic lifeform is a masterpiece of paranoia and puppetry, deftly blending looming atmosphere and existential angst with holy shit creature FX. Post-THE THING, the ensuing struggle between filmmaking and fandom, which is arguably a hurdle for horror filmmakers more than any other type, often leaves little else besides the impact and homage. A pleasant surprise then, that Austrian director Marvin Kren’s similarly snowbound creature feature BLOOD GLACIER isn’t just the sum of its favorite films.

As a filmmaker who provokes curiosity and emotion through visually stunning narratives, David Lynch’s films are always thrilling to rediscover via high definition. With its last domestic release currently out of print on DVD, specialty distributor Twilight Time stepped up to the plate for the Blu-ray of one of Lynch’s most entertaining and colorful films, WILD AT HEART. With only 2 other Lynch films formally released on that format in the U.S. (BLUE VELVET and DUNE) and select Lynch works unavailable on any medium, this limited edition print is surely on every collector’s shopping list.

In the world of genre film, there’s a seemingly constant discussion about the validity of “fun” as a means to excuse poor filmmaking. Speaking in a narrative sense, there is admittedly leeway in terms of logic and execution with horror films even if the story comes first and foremost. When a film hinges so much on this perspective however, a certain amount of desperation permeates and criminally depreciates the fun factor.